Chicago Theater Reviews

BWW Reviews: What a Glorious Feeling - Getting a Glimpse Into the Silver Screen's SINGIN' IN THE RAIN

Now through June 2, 2013, at the Theatre at the Center in Munster, Indiana (and not as far away as you might think) is a new play that gives us an interesting look into the making of one of the most enduring work of art produced by Hollywood in its Golden Age of Movie Musicals, the 1952 classic MGM film, "Singin' in the Rain." (more...)

BWW REVIEWS: World Premiere Musical UNDER A RAINBOW FLAG Sheds Light On A Forgotten Chapter Of WWII

Running almost every Wednesday through Sunday between now and April 21, 2013, is a world premiere musical that is certainly worth seeing. It's "Under A Rainbow Flag," with book, music and lyrics by Chicagoan Leo Schwartz, and based on the recollections of the now 91-year-old Jon Phillips, living in retirement in Evanston and present on opening night. The show is running in the Profiles Theatre Main Stage space at 4139 N. Broadway, in Chicago's Buena Park neighborhood, in the Uptown community area. (more...)

BWW Reviews: ASPECTS OF LOVE Moving, Problematic and Worthy in Theo Ubique's Gutsy Production

Playing now through April 21, 2013 at the No Exit Cafe in Rogers Park, and officially opening yesterday, the rarely seen Andrew Lloyd Webber musical 'Aspects of Love' has been very competently mounted by the consistently high-quality storefront non-Equity company, Theo Ubique Cabaret Theatre. And this 1989 London show, receiving what I believe is the Chicago premiere of the revised version first mounted in the UK in 1993-4, has been clearly intended by the company to be a follow-up to its phenomenally successful, multi-Jeff Award winning, multi-BroadwayWorld Award winning 2012 production of 'A Light in the Piazza,' a show with a similar post-war, stylish Continental setting and the seduction of romantic melodies in the air--not much dialogue or dance needed. (more...)

BWW Reviews: Music Marches To The Fore In The Paramount's Postcard-Pretty THE MUSIC MAN

In the Paramount's production, directed and choregraphed by Rachel Rockwell, the show lives and breathes in the very music that a con man and flim-flam artist, "Professor Harold Hill," uses to sell band instruments, uniforms and instruction booklets to the parents of young boys he knows he cannot really teach. Music is everywhere,... (more...)

BWW Reviews: The BOOK OF MORMON: Chicago Cast Rings all the Right Bells

Chicago production of Tony-award winning show 'The Book of Mormon comes into its own, rightfully deserving all the buzz and praise. (more...)

BWW Reviews: MY ONE AND ONLY Tappa Taps Through the Schmaltz at the Marriott

There's something so utterly intoxicating about a skilled tap dancer decked out in a spiffy tuxedo - top hat, tails, and all - commanding the audience's attention for a brilliantly exhausting routine. There's something even more so invigorating when a cast-full of local performers nail their respective, and original, routines. Many kudos are in order for Tammy Mader and her cast for their ability to bring such energy and skill to a dangerously saccharine show like My One and Only, currently running at the Marriott Theatre in Lincolnshire. (more...)

BWW Reviews: THE CHRISTMAS SCHOONER: A Holiday Tradition That Is About--Well, Tradition!

"The Christmas Schooner" has been performed in the Chicago area every year, except for one, since 1995. And yet, I know for a fact that new theatergoers are discovering it all the time. Hence, it's a good thing that the Mercury Theater on Southport Avenue has mounted this story--based on a real slice of Chicago history--for the second year, and has already announced it for next year as well. It's one of the most popular musicals across the country to originate in Chicago, and we are proud to call it our own. (more...)

A CHRISTMAS CAROL at the Goodman Theatre: Classy Holiday Magic, Courtesy of Three Stars

One of the nation's most prominent of the many productions of "A Christmas Carol" that crop up like greenery this time of year is the one at Chicago's Goodman Theatre. Now in its 35th annual outing, it's a warm, thought-provoking and timeless tale of redemption and good will, humanity and universality that, surprisingly , shares with Jonathan Larson's "Rent" an immediate central theme. "No day but today" might very well be a line from Charles Dickens' short 1843 novel of the same name, as pithy and wise as the novel's, and this show's, ending line: "God bless us, everyone." (more...)

PIPPIN: A Bollywood Spectacular? Why, yes. Yes, it is.

For consistency and boldness of artistic vision, or (more accurately) for auteur singularity of mind in application of a specific lens to the artistic work of another, one need look no further than to Oak Park, Illinois, and the Circle Theatre production of "Pippin," playing now through December 23, 2012 at the Madison Street Theatre. (more...)

“PLAID TIDINGS” in Munster: Holiday Nostalgia for All Things Plaid

The musical "Forever Plaid," created in 1990 by writer/director Stuart Ross and the late musical director/arranger James Raitt (cousin to John and Bonnie), was and is a perennially popular staple of regional theaters looking for a small-cast, upbeat and moving musical to satisfy audiences of a certain age (meaning my parents, and your grandparents). (more...)

BWW Reviews: Art Institute of Chicago Showcases Video Art, Film with Steyerl, McQueen Exhibitions

Following its highly publicized summer Lichtenstein retrospective, the Art Institute of Chicago appears to be putting emphasis on video art and film installations during the fall season with two innovative new exhibitions - FOCUS: HITO STEYERL and STEVE MCQUEEN. (more...)

BWW Reviews: No Kinks Here, KINKY BOOTS is a Crowd-Pleaser

Broadway World Chicago reviews the pre-Broadway tryout of 'Kinky Boots' (more...)

Bailiwick's BLOODY BLOODY ANDREW JACKSON a Mixed Bag

'Bloody Bloody Andrew Jackson' envisions the seventh U.S. president as Emo rockstar. (more...)

BWW Reviews: Nightblue's AVENUE Q Finds Its Purpose

Relatively new to the Chicago theater scene, suburban-based Nightblue scores with their original take on the Tony-award winning 'Avenue Q.' (more...)

BWW Reviews: A Glorious SUNDAY IN THE PARK WITH GEORGE

Gary Griffin's production of the classic Sondheim musical is a fitting work of art and this season's first must-see. (more...)

“The Last Five Years” for the Next Four Weeks: Invest In It, and It Will Reward You

This month, a modest production of this powerful but modest show is running on the weekends at Stage 773 in Lakeview, brought to us by a new production company, Another Production Company. The company was founded by Raymond K. Cleveland and Toma Tavares Langston, two men who cut their theatrical teeth in Chicago companies like Theo Ubique Cabaret Theatre, and who serve as co-producers and co-directors for "The Last Five Years." And the show is in The Cab, the smallest of 773's performance spaces, running through October 5, 2012. (more...)

BWW Reviews: Marc Robin’s DREAMGIRLS Keeps It Moving at the Marriott

It's quite an achievement for any theater company to mount a credible "Dreamgirls," frankly, with its casting challenges, costume budget and high energy performance level. But Robin's Marriott "Dreamgirls" succeeds on many levels. It never stops moving, and it frequently moves the audience as well.... (more...)

BWW Reviews: The Dream Works at STREAMWERKZ: THE MUSICAL

The towel clad lads server up a late-night musical treat at 'Steamwerkz: The Musical' (more...)

HERO: A World-Premiere Comic Book Musical That’s Ready For Its Grown-Ups

Opening this past Wednesday, the latest new work at the Marriott Theatre is "Hero," conceived and written by Aaron Thielen (the theater's Lead Artistic Director) and based somewhat on his childhood in Milwaukee and the neighborhood he grew up in. The show has music and lyrics by Michael Mahler, an actor, musical director, guitarist and keyboardist about town, who has written seven previous musicals and makes quite a mark with this one. The pair has been working on and workshopping the show since early 2009, and the work has paid off. It's a funny, engaging, likeable, tuneful and moving mid-sized musical. (more...)

BWW Reviews: BoHo’s FLOYD COLLINS - An Impressive Blend of Stagecraft and Musicianship

Chicago's non-Equity Bohemian Theatre Ensemble has undertaken Adam Guettel and Tina Landau's 1996 off-Broadway masterpiece (or close to it) and put it on at Theater Wit on West Belmont Avenue for the next month (through July 25, 2012). If you have imagination enough to meet the company halfway, somewhere between the hardscrabble Kentucky soil and the cave beneath it where the real Floyd Collins met his doom in 1925, you will come away with a musical and theatrical experience you are unlikely to repeat anytime soon, anywhere else. (more...)

BWW Reviews: Team StarKid’s APOCALYPTOUR: The End of Musical Theater As We Know It, And We Feel Fine

I'm talking about StarKid Productions, aka Team StarKid, and their "Apocalyptour," which opened last night at Chicago's House of Blues (a second show is tonight). The troupe behind "A Very Potter Musical," the Billboard phenomenon "Me and My Dick," the BroadwayWorld Chicago Award-winning "Starship" and more, heads off to Indianapolis, Nashville, New Orleans and points beyond in the coming days... (more...)

BWW Reviews: RENT Comes Due at ATC

David Cromer's production of 'Rent' should face early eviction due to poor staging choices. (more...)

BWW Reviews: There's Something About CATS at the Cadillac Palace Theatre

Forget "Rock Of Ages." That 21st century musical about the 1980s has nothing on the real thing. "Cats," the show that set much of the look and tone of musical theater for the next decade or so when it opened in London in 1981 and in New York in 1982 (and began continuous touring in 1984, a record unmatched in theater history) is on display for this week only (sorry, "Now And Forever") at Chicago's Cadillac Palace Theatre. Forget "Rock Of Ages." That 21st century musical about the 1980s has nothing on the real thing. "Cats," the show that set much of the look and tone of musical theater for the next decade or so when it opened in London in 1981 and in New York in 1982 (and began continuous touring in 1984, a record unmatched in theater history) is on display for this week only (sorry, "Now And Forever") at Chicago's Cadillac Palace Theatre. And I, who saw the original Broadway production twice during that heady decade and have not seen the show in any form since then, was eager to go and see what the fuss was, and is, all about. So I went, Tuesday night. If you've never seen this show, if you kids have never seen it, or if you want to experience the magic of this unique theatrical masterpiece one more time, then this is a great opportunity to do so, as this is the only remaining North American production to (somewhat) accurately replicate the award-winning, record-setting British musical that took America and the world by storm thirty years ago. This tour of non-Equity performers, with its usual orchestra of five beefed up to eight for a weeklong stand (May 1-6) in a major theatrical market, has enough going for it that I highly recommend it. It's a little like entering a time machine, and there's a lot of sleight of hand, but it works. Let me explain. What is "Cats?" Much maligned by insiders, derided as dated by visual artists, underrated by dance teachers and ignored by voice teachers (save for its megahit song, "Memory," which is heard twice, but never in the sheet music version everything has heard and claims to know), it is in many ways a dichotomy. It's a dance show (choreography by Gillian Lynne) written by a singer's songwriter (Andrew Lloyd Webber), as well as a British song cycle based on poems written by a St. Louis-born English poet (T. S. Eliot) who never intended his work ("Old Possum's Book Of Practical Cats," and other snippets) to be either musicalized or staged. Its plot, slight though it is, is also the subject of much derision, but to this observer is very reminiscent of "A Chorus Line," a universally revered work that does include dialogue and more depth of character, but also honors unity of time and place. However, there are indeed works that dispense with plot entirely, and which people unabashedly love (you know, revues--"Ain't Misbehavin'" comes to mind), and even shows like "Forever Plaid" and Lloyd Webber's "Starlight Express" feature heaven-going as a climax that is not entirely a surprise. So, enough complaining about there being no dramatic tension, already. But the spectacle! Is it a rock concert with dance, a dance concert with character, a makeup and hair extravaganza with arena-style lighting (still thrilling, the work of David Hersey, as recreated by Rick Belzer), a radio-friendly cast album with a decidedly British keyboard-rock spin, an intellectual set of inscrutable poems with earworm melodies, an environmental theater piece that's fun for all ages (an unmistakeable set and costume design by the remarkable John Napier)--what exactly is going on? The answer, of course, is all of the above. Oh, and it owes a lot to the English music hall tradition and to contemporary classical music, too, not to mention Puccini. Name another show that encompasses so much. Not to mention that original marketing campaign. Aside from his immature works (the children's show "Joseph And The Amazing Technicolor Dreamcoat" and others), Lloyd Webber's previous shows written with Tim Rice (the two nominated for the Best Revival of a Musical Tony Award this year, "Jesus Christ Superstar" and "Evita,") were both introduced to the world via record albums and marketing campaigns that featured a logo rather than a star name and image. But "Cats" seemed to take that even further, dispensing with the concept album and zeroing in on the show AS the star. Indeed, this show has no leading roles. Really. But who can forget that moon/cats' eyes/dancer silhouette logo, and the letters of the title in color-coordinated graffiti (echoing the oversized junkyard scene design). It was exciting and revolutionary at the time, and the only shows that have done it better since then (Lloyd Webber's "The Phantom Of The Opera" and director Trevor Nunn's "Les Miserables," all three produced by wunderkind Cameron Mackintosh) are the only ones that have run longer in London and New York, due to the lessons they learned from the feline juggernaut before us now. It was "the birth of the musical spectacular," as Broadway In Chicago's promotional materials tell us. This particular edition of the endless "Cats" tour, directed and choreographed by Richard Stafford and featuring mostly young, recent graduates of top U.S. musical theater and dance schools, is indeed "cut down" from the total makeover that the Winter Garden Theatre in New York displayed for the 18 years it played there (1982-2000). But the "Christmas lights" that once ringed the audience do indeed extend past the proscenium arch, and the cast makes several trips out into the aisles, a nice touch. The back wall of the set does not swing down to reveal the ship's set needed for the "Growltiger's Last Stand" sequence--they use drops and a false proscenium downstage center here, and I almost liked it better. The set as a whole is not as detailed and certainly not as deep as it once was, but if you haven't seen the video of the London production, or the show as it played in the early '80s, you would be none the wiser. Sound-wise, I have to give credit to sound designer Duncan Robert Edwards, musical supervisor Kristen Blodgette and music director J. Michael Duff. I swear the show sounds better than ever, even with a smaller orchestra than originally employed. And I could understand the lyrics! The costumes and makeup design look simplified to me, though, but again, a newcomer to the proceedings wouldn't know. And do I care of part of the set is inflatable, as rumor would have it? I don't care how they get it from city to city, or how quickly they do it, but somebody does care, and they figured out a way to make it work! The floating tire and the thing that comes down from the fly space (spoiler alert?) look great, absolutely. Absolutely. The cast is led by Melissa Grohowski as Grizabella, the role made famous by Elaine Paige and Betty Buckley and carrying with it, shall we say, a certain expectation of a certain money note. Boy, does Ms. Grohowski deliver! Three people stood during the applause for the number. Bravo to Clemmons/Dewing Casting, I say! The two singing roles for the men, Old Deuteronomy and Gus/Growltiger/Bustopher Jones, are essayed here by Nathan Morgan and Christopher E. Sidori, who both acquitted themselves well and were very effective theatrically, whatever their actual ages. Among the dance roles, Daniel J. Self as the narrator Munkustrap, Chris Stevens as Rum Tum Tugger and especially Chaz Wolcott as Mistoffelees were crowd pleasers: Self with his movement detailing, Stevens with his Elvis impersonation and Wolcott with his amazing fouette turns. The cast of two dozen or so performers dances uniformly well, and sings very well, too, save for a few minor quibbles with single lines here. And there or some missing low notes that older performers would probably have no trouble with. But these are easily forgiven. Who cares if the leading lights of Broadway (Harry Groener, Terrence Mann, Anna McNeely and of course Ken Page) have been replaced in these roles by recent graduates of Wright State, SUNY-Purchase and Oklahoma City University? These energetic, disciplined performers are working their tails off (pun intended), singing like people who can't dance a lick and are basking in the glow of theater history with every city they visit. Yes, the show has moments that seem a little longwinded, and sure, it doesn't challenge your intellect as much as it challenges your wallet and your caffeine intake (it takes place at night, and everybody is dressed like a cat!). But I challenge you to remain unmoved when Grizabella begs for physical contact, when old Gus relives his moment of youthful theatrical triumph, when assorted junk becomes the train that Skimbleshanks loves, and when the sopranos of the ensemble soar on the words, "'Round the cathedral rang 'Vivat!" Come on! It's "Cats." It's eye and ear candy galore. I don't even like cats, but I do like "Cats." Very much. "Cats" plays this week only, Tuesday night through Sunday night, with additional matinee performances on Saturday and Sunday, at the Cadillac Palace Theatre, 151 W. Randolph Street in Chicago. Tickets are available at all Broadway In Chicago box offices, the Ticket Kiosk at Water Tower Place, all Ticketmaster retail outlets, by phone (800.775.2000) and online at www.BroadwayInChicago.com. Photos: Melissa Grohowski; The Cast (more...)

The Lincolnshire Marriott’s “Pirates”: Theatrically Good to Great, But Musically Frustrating

In our time and place, the great Marriott Theatre to the north of Chicago, in Lincolnshire, in the collar county of Lake, has mounted a production of "The Pirates of Penzance" which officially opened this past weekend, and will run through June 10, 2012. It's directed by Dominic Missimi, a visionary musical theater director and teacher with vast experience and influence across the country, and especially here. (more...)

BWW Reviews: Highland Park “Pippin” Is Very Well Danced and Sung, Pretty Well Acted

The 1972 Bob Fosse dance spectacle and play-within-a-play "Pippin" (which produced a legendary Motown Records cast album, no less) opened in Lakeview this past October, courtesy of the Bohemian Theatre Ensemble. And now we have a "Pippin" for the north lakeshore, as The Music Theatre Company of Highland Park has mounted an enjoyable revival of its own, opening last weekend and running through May 6, 2012.Stephen Schwartz, one of the most popular Broadway composer-lyricists of the last 40 years, is riding high these days, with the continued mega-success of "Wicked," a late-career surprise for a guy who made his first big impact when he was just out of college in the very early 1970s. There's a revival of his "Godspell" playing on Broadway right now, directly adjacent to where "Wicked" is still selling out after 8 years, and two rival revivals of "Pippin" have been vying for Main Stem viability in recent months. Here in Chicago, we had a re-working of "Working" last spring, in a major production at the Broadway Playhouse at Water Tower Place, and a Schwartz career retrospective revue called "Snapshots" premiered at the Northlight Theatre in Skokie last fall. Schwartz himself was in town for both productions, rumored to be in love with our Chicago acting scene. The 1972 Bob Fosse dance spectacle and play-within-a-play "Pippin" (which produced a legendary Motown Records cast album, no less) opened in Lakeview this past October, courtesy of the Bohemian Theatre Ensemble. And now we have a "Pippin" for the north lakeshore, as The Music Theatre Company of Highland Park has mounted an enjoyable revival of its own, opening last weekend and running through May 6, 2012. Directed and choreographed by the company's founder and artistic director, Jessica Redish (how many hats IS that?), and music-directed by her "Merrily We Roll Along" partner, Ian Weinberger (their production of that problematic Stephen Sondheim show was very well received last year), this production utilizes Equity leads and a non-Equity ensemble, to interesting advantage. Many of the dance sequences look great, especially the opening number, "Magic To Do," the "Glory" sequence, the thrilling "Morning Glow" and several opportunities where Fosse trios are utilized (a lead dancer in front, flanked by a supporting dancer on each side). The women of the ensemble (Sasha Kostyrko, Kristin O'Connell, Emily Rogers and Lucy Zukaitis) are especially sexy, and the men (Brian M. Duncan, Tommy Rivera-Vega and Jeremy Sonkin) dance their socks off and carry out their small acting bits with verve. And the leading characters are played by actors with formidable singing chops, made all the more impressive by the fact that the cast is entirely unamplified. Leading Player Joey Stone has an extremely impressive, beautiful and flexible R&B voice, all runs and trills and idiomatic inflections that are very satisfying throughout (he's worked all over town since landing here five years ago, and it's easy to hear why). His stage presence is unmistakable, and you need to hear him sing these songs. You really do. The titular hero of the piece is embodied by the elfin, vaguely quirky-looking Andrew Keltz, who looks to be about 15 until you spy a little chest hair poking its way out of his shirt collar. His is not the most resonant vocal instrument, but he sounds entirely conversation and convincing every time he sings, and he too works all over the place. And he is not a conventional juvenile lead, but he plays them constantly, gifted with the innate ability to convey a searching, restless contemporary spirit, adrift in a society he doesn't understand. James Rank is the Charlemagne here, enacting all the hoary bluster and inner struggle of a man who is admittedly not a brain type of guy. His singing is a combination of exemplary Gilbert and Sullivan patter and baritonal bravado. However, he is saddled with the thankless number, "Welcome Home," which seems to always drag down the action with tons of exposition and not enough flash, so that all "Pippin" productions struggle in the early going. Thankfully, his prayer scene was remarkably nuanced. The veteran Peggy Roeder, playing Berthe until April 13 (she will be replaced by Cindy Gold, faculty member at Northwestern University and recently in "Show Boat" at Lyric Opera of Chicago), is hilarious and sings like the character actress she is, every note and word perfectly produced. And Angie Stemberg (Fastrada) and Jess Godwin (Catherine) are providing a school for contemporary musical theater singing in this production, with personalized stylings couched within perfectly placed belt techiques. If Zach Zube is not the ideal physical type for the character of Lewis, he nonetheless brings energy, focus and excitement to the role. However, young Theo is here portrayed by the pleasant commitment of young Isabelle Roberts, in a fascinating bit of pre-pubescent gender-bent casting. The orchestra of five, conducted by Weinberger and playing his orchestral reduction of the score, plays as softly as one could imagine a pop-rock score could be played, to their credit and the credit of sound designer Christopher Kriz. In addition to the songs I've already mentioned, I loved "On the Right Track," for its perfect blend of choreography, acting moments, use of the playing space and the singing of the two male leads, the lovely and still "Love Song" by Keltz and Godwin, and, especially, Roeder and Company's delivery of "No Time At All," complete with audience sing-along and hitting all the right showbiz mastery this number requires. Can I discuss the ending of the show for a bit? I know this show's coup de theatre ending is supposed to be a secret surprise, but it's over 40 years old, and fairly well known to the readers of BroadwayWorld. So, here I go. When the Leading Player proposed to Pippin that he should end his life in a glorious blazing bonfire and Pippin refuses, prompting the Leading Player to order the removal of all "theatrical" elements (lights, costumes, music) from Pippin and Catherine, I'm never quite sure that it ever truly works. First of all, is Pippin the character rebelling, or is the unnamed actor playing him in the Leading Player's troupe rebelling? And why does the L.P. get so upset? This is not set up very well by bookwriter Roger O. Hirson (was it Fosse's idea?), nor is it really explained--this oversized, childish reaction to an actor (or character) refusing to follow the script. If you don't know it's coming, it's shocking and unique and interesting. But once you think about it, it doesn't make a whole lot of sense. It makes a point, but it isn't as perfect an ending as I wish it were. Oh, well. Small quibble. That being said, this particular production handles it pretty well. The lights and flashiness of the show do indeed reach their peak just before the unforeseen turn of events, and the final image of Pippin, Catherine and Theo in their underwear does carry the meaning it is intended to convey. Actually, the lighting for this show (by Charles Cooper) is one of its best aspects. The lights change constantly, directing the eye and conveying the mood and creating the time and place. I was extremely impressed. I don't think the workable scenic design (Stephen M. Carmody), properties design (Nick Heggestad) or costume design (Jessica Snyder) of this production would come off near as well, were the lighting not so perfect. So, kudos to Reddish and TMTC for a fun, meaningful and stylistically appropriate "Pippin," with moments of real creativity. The level of vocal excellence here is not always heard in other small, intimate theaters, and speaks to the priorities of this still-young company. If you love that legendary cast album, you'll enjoy this production, even with a small orchestra. And the show's theme of staying true to oneself, while looking for love and finding joy and meaning in the simple things of life, is a timeless one, well worth revisiting. Applause for the company of "Pippin!" The Music Theatre Company's production of "Pippin," by Stephen Schwartz and Roger O. Hirson, plays March 22-May 6, 2012 at the Karger Center, 1850 Green Bay Road in Highland Park, directed and choreographed by Founding Artistic Director Jessica Reddish. Tickets are available by calling 847.579.4900 or by visiting www.themusictheatrecompany.org. PHOTOS: (top) Andrew Keltz as Pippin with (L to R) Emily Rogers, Lucy Zukaitis and Sasha Kostyrko in "Pippin" at The Music Theatre Company; (bottom) Joey Stone as the Leading Player with cast members of "Pippin" at The Music Theatre Company PHOTO CREDIT: www.jonathansportraits.com (more...)